Official Nominations: Original: Dr Zhivago. A Patch Of Blue. The Umbrellas Of Cherbourg. The Agony And Ecstasy. The Greatest Story Ever Told. Treatment: The Sound Of Music. The Umbrellas Of Cherbourg. Cat Ballou. A Thousand Clowns. The Pleasure Seekers.
The official nominations this year were split into original score and treatment score to deal with the amount of stage adaptations. I’ll bunch them together for my own nominations. Maurice Jarre’s oriental, string fuelled, emotive score for Dr Zhivago has at least one famous theme which you’ll recognise even if you haven’t seen the film and was unsurprisingly this year’s winner. Jerry Goldsmith’s wistful, tragic score for A Patch Of Blue has tinkly piano parts and just enough string backing to sway between loneliness and happiness, whilst the same can almost be said for Michel Legrand’s Umbrellas Of Cherbourg. Even though the film came out the year before, and was nominated the year before, it is oddly nominated in both categories here. Alex North’s score for The Agony and The Ecstasy has plenty of solo instrumental moments, strange for an epic, and countered by typical organ and brass elements – it’s in these larger moments that the emotional weight is carried though the score lacks a memorable tune. Alfred Newman’s The Greatest Story Ever Told is a similarly epic film merging typical Christian standards with choir backing and a collection of more tender moments, but again for me none of the themes stand out.
The Sound Of Music is filled with musical moments still wildly popular today, so it is difficult to argue against its choice as winner. Cat Ballou’s score by Frank De Vol is mostly upbeat, exciting, and jig-worthy while Don Walker’s A Thousand Clowns relies too much on the same motifs. Newman and Courage’s The Pleasure Seekers rounds up the nominees, the only anomaly here, memorable only for its Spanish tinged moments.
My Winner: Original: Dr Zhivago. Treatment: The Sound Of Music.
My Nominations: Help! Dr Zhivago. A Patch Of Blue. The Sound Of Music. Faster Pussycat, Kill Kill. Thunderball. For A Few Dollars More
I’ve added a few more films to my list, namely Ken Thorne’s treatment and original work for Help! and Morricone’s expansion to A Fistful Of Dollars for A Few Dollars More. John Barry’s soundtrack for Thunderball is one of the better scores, while Paul Sawtell’s zippy score for Faster Pussycat opened the doors for a million grindhouse imitators.
My Winner: Help!
Which film do you feel has the best soundtrack of 1965? Let us know in the comments below!